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Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)
Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)

The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554, Museo del Prado, P422), versions of other previous works, but endowed with all [+]

The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]

Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

In contrast to the paintings created for the Camerino d´Alabastro and the poesie made for Philip II, the canvases on the subject of Venus do not form a homogenous group as they were not painted for on [+]

The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)
The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)

Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously an [+]

John Frederick I of Saxony
Oil on canvas. 1548
Titian (Tiziano Vecellio)
John Frederick I of Saxony
Oil on canvas. 1548
Titian (Tiziano Vecellio)

John Frederick I of Saxony (Torgau, 30 June 1503–Jena, 3 March 1554), Duke of Saxony-Wittenberg from 1532, was the principal defender of Luther, a fact that brought him into conflict with Charles V. I [+]

Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)
Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)

On 16 April 1529 Federico II Gonzaga, First Duke of Mantua (1500-1540), apologised to his uncle Alfonso d’Este for retaining Titian: perché ha conienzo un retratto mio qual molto desidero sii f [+]

Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, cu [+]

Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

In his Metamorphoses Ovid recounts the torments of the Giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating live [+]

Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)
Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)

Philip II (r. 1556-98) was Titian´s most important patron, and together they forged one of the most fruitful artistic relationships of the European Renaissance. Philip surpassed all of the Venetian pa [+]

The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]

Christ on the Way to Calvary
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)
Christ on the Way to Calvary
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)

The Museo del Prado has two paintings of this Gospel episode (Matthew 27: 32-33; Mark 21-22; Luke 23: 26-27) which narrates how Simon of Cyrene had to carry the cross for the exhausted Christ on the w [+]

Saint Catherine of Alexandria
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)
Saint Catherine of Alexandria
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)

Although no entirely autograph painting of this subject survives, Titian painted it on numerous occasions, both as a single figure and within larger compositions. In 1648, for example, Ridolfi mention [+]

Self-portrait
Oil on canvas. Ca. 1562
Titian (Tiziano Vecellio)
Self-portrait
Oil on canvas. Ca. 1562
Titian (Tiziano Vecellio)

Titian painted his first self-portrait before leaving for Rome in 1545. However, it was after his Roman stay that he showed the most interest in disseminating his image in order to fully establish his [+]

The Agony in the Garden
Oil on canvas. 1558 - 1562
Titian (Tiziano Vecellio)
The Agony in the Garden
Oil on canvas. 1558 - 1562
Titian (Tiziano Vecellio)

On 13 July 1558, Philip II asked Titian to make haste with the completion of an Agony in the Garden which the artist had agreed to finish one year earlier, but which was only sent to the monarch in 15 [+]

Venus and Adonis
Oil on canvas. 1554
Titian (Tiziano Vecellio)
Venus and Adonis
Oil on canvas. 1554
Titian (Tiziano Vecellio)

The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554), versions of other previous works, but endowed with all the prestige of the co [+]

Emperor Charles V with a Dog
Oil on canvas. 1533
Titian (Tiziano Vecellio)
Emperor Charles V with a Dog
Oil on canvas. 1533
Titian (Tiziano Vecellio)

The period between 1530 and 1533 was crucial for the formulation of the image of Charles V. The image that ultimately proved most influential was invented by Jacob Seisenegger who painted five full-le [+]

The Virgin and Child with Saints Dorothy and George
Oil on panel. 1515 - 1518
Titian (Tiziano Vecellio)
The Virgin and Child with Saints Dorothy and George
Oil on panel. 1515 - 1518
Titian (Tiziano Vecellio)

The authorship, dating and iconography of this work are all controversial. It was described as being by Titian in the Libro de entregas of the Escorial in 1593, an opinion maintained by Sigüenza [+]

Philip II
Oil on canvas. 1551
Titian (Tiziano Vecellio)
Philip II
Oil on canvas. 1551
Titian (Tiziano Vecellio)

Philip II was Titian’s most important patron, and the pair’s artistic relationship was one of the most fecund of the Renaissance. They met twice while Philip was still a prince, in Milan (December 154 [+]

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